The new doctrine was forced upon the masters of the world by barbarians and slaves. The reader now has examples of the arguments Nietzsche employs in support of his proposition that history is not so sound and strengthening an educational factor as is thought: only he who has learnt to know life and is equipped for action has use for history and is capable of applying it; others are oppressed by it and rendered unproductive by being made to feel themselves late-comers, or are induced to worship success in every field. Nietzsche's contribution to this question is a plea against every sort of historical optimism; but he energetically repudiates the ordinary pessimism, which is the result of degenerate or enfeebled instincts--of decadence. He preaches with youthful enthusiasm the triumph of a _tragic_ culture, introduced by an intrepid rising generation, in which the spirit of ancient Greece might be born again. He rejects the pessimism of Schopenhauer, for he already abhors all renunciation; but he seeks a pessimism of healthiness, one derived from strength, from exuberant power, and he believes he has found it in the Greeks. He has developed this view in the learned and profound work of his youth, _The Birth of Tragedy, or Hellenism and Pessimism_, in which he introduced two new terms, _Apollonian_ and _Dionysian_. The two Greek deities of art, Apollo and Dionysus, denote the antithesis between plastic art and music. The former corresponds to dreaming, the latter to drunkenness. In dreams the forms of the gods first appeared to men; dreams are the world of beauteous appearance. If, on the other hand, we look down into man's lowest depths, below the spheres of thought and imagination, we come upon a world of terror and rapture, the realm of Dionysus. Above reign beauty, measure and proportion; but underneath the profusion of Nature surges freely in pleasure and pain. Regarded from Nietzsche's later standpoint, the deeper motive of this searching absorption in Hellenic antiquity becomes apparent. Even at this early stage he suspects, in what passes for morality, a disparaging principle directed against Nature; he looks for its essential antithesis, and finds it in the purely artistic principle, farthest removed from Christianity, which he calls Dionysian.